(b Nandlstadt, Bavaria, c1760; d Vienna, Sept 1, 1836). German violinist and composer. The Bishop of Freising enabled him to go to Florence to study the violin with Pietro Nardini, but on the death of the bishop he was obliged to return. He became a member of the Freising Hofkapelle in 1781. In 1790 he was named Konzertmeister at the Salzburg court, becoming director and first violinist in 1803. He taught the violin at the Kapellhaus and was a pupil and friend of Michael Haydn, on whom he wrote BiographischeSkizze von J.M. Haydn (Salzburg, 1808) in collaboration with F.J. Schinn. In 1809 he became a violinist in the royal chapel at Vienna, a position he held until his death. His son, Ludwig Joseph (b Freising, c1786; d Vienna, 17 Feb 1877), studied the violin with his father and from 1804 to 1809 was violinist at the Salzburg court. He moved to Vienna with his father, but was not listed as a member of the Hofkapelle until ...
Austrian family of music copyists and dancers.
(b ?Kiesling, Silesia, 1738/9; d Eszterháza, Oct 26, 1782). Prince Nikolaus Esterházy’s music copyist from August 1764 to October 1782. He was a friend of Haydn, who witnessed his marriage (1766) to Eva Maria Köstler (d 1806) and was godfather to all the children of this marriage. Joseph made fewer copies of Haydn’s works than his son (2) Johann Elssler, but they are a no less valuable part of the source tradition of Haydn’s music; they occur particularly in the Esterházy collection at Budapest, and in Vienna, Berlin, Frankfurt and St Florian (von Zahn, 1988, pp.140ff). The magnificent manuscript volumes of baryton trios dedicated to Prince Esterházy deserve special mention, as does Joseph Elssler’s role in the preparation of Haydn’s ‘Entwurf-Katalog’ (EK), which was begun about 1765 (facsimile in Larsen, 1941; further specimens in Landon, ...
(b Jezbořice, Bohemia, Aug 4, 1776; d ?Vienna, Nov 20, 1851). Bohemian composer and clarinettist. He was employed as a clarinettist by Prince Auersperg in about 1805, and by Prince Liechtenstein from 1808 until the temporary dissolution of his Harmonie in June 1809. He may have resumed employment with Prince Auersperg as Kapellmeister before being re-engaged by Prince Liechtenstein as Kapellmeister and clarinettist by the time his Harmonie was reconstituted on 1 April 1812: Sedlak held this post until its dissolution on 1 May 1835 when he was given a pension. A prominent soloist in Vienna, in 1821–2, he was a member of Sedlatzek's Harmonie-Quintett, the Viennese counterpart of Reicha's Parisian wind quintet.
Sedlak is remembered most for his transcriptions of opera and ballet scores for Harmonie. He was Vienna's foremost exponent of this art for some 25 years. Over 60 works survive including several from originals by Rossini, Bellini, Donizetti and Auber (now in ...
James L. Jackman
revised by Francesca Seller
(b Naples, c1715; d Netherlands, 1782). Italian composer and entertainer. He was said by contemporaries to have been talented (‘brilliant and pleasing’, in Gerber's words) but, as far as is known, he never achieved regular employment, and his life was unusually peripatetic. He studied under Durante at the Conservatorio dei Poveri di Gesù in Naples, 1730–35. After the production of a comic opera in Naples in 1737 he spent a number of years in the Veneto and elsewhere in north Italy, picking up occasional musical and composing jobs; librettos of the time name him as maestro di cappella of the Marchese di Torrecuso. For Carnival 1742 he contributed arias to a pasticcio of Piovene's Nerone in Gorizia, where he directed the operas at the Teatro Nuovo. In the same year he directed the music at the newly rebuilt theatre in Verona and wrote a cantata in Udine to celebrate the possession of Gorizia by the Count of Purgstall. The next year he was director of the opera in Reggio nell'Emilia, adding at least seven arias to a production of Gluck's ...
Italian and Austrian family of composers and musicians.
(b Pesaro, June 22, 1741; d Eisenstadt, April 25, 1808). Violinist and composer. He was engaged in 1757 as a manservant by Prince Paul Anton Esterházy, who had become acquainted with him on a journey to Italy. In 1759 he was sent to Venice for further musical training but was soon ordered to return to Vienna. It is uncertain whether he was a pupil of Leopold Mozart in Salzburg (as has been assumed from the latter’s letter of 21 June 1763), and it can only be presumed that he later received composition lessons from Haydn. In summer 1761, when Haydn was appointed assistant Kapellmeister, Tomasini was already first violinist in the Esterházy Hofkapelle, and later he was awarded the title Konzertmeister, a post he held until his death. In 1767 he was in the retinue of Prince Nicolaus (I) Esterházy on a journey to Paris. When the Vienna Tonkünstler-Societät, of which Tomasini had been a member since its inception, gave the première of Haydn’s oratorio ...
(b Eisenstadt, Dec 6, 1743; d Eisenstadt, Aug 25, 1773). Organist and composer of Bohemian descent . Both his grandfather and his father were in the service of the Esterházy family as court officials and musicians, the former as a bass singer and the latter, Johann Novotný (1718–65...
(b Ybbs an der Donau, Jan 28, 1693; d Eisenstadt, Burgenland, March 3, 1766). Austrian composer. From 1715 to 1716 (or possibly 1721) he was organist at Melk Abbey. He married in Vienna (where he may have been a pupil of J.J. Fux) on 27 January 1727, and moved from Vienna to Eisenstadt to take up an appointment as Kapellmeister at the Esterházy court on 10 May 1728. As successor to the post of Wenzel Zivilhofer he received a salary of 400 gulden in addition to 28 gulden lodging money per year, increased in 1738 and, on his son’s joining the establishment as alto singer, in 1740. Werner also taught some musicians in Eisenstadt, including Johann Novotný and S.T. Kolbel.
According to a decree issued by 1 May 1761, Haydn took over the princely musical establishment which Werner had brought to a high standard. However, Werner remained as Oberhofkapellmeister and was entrusted with the sacred music, which had always been of primary interest to him. Predictably, strained relations arose between Werner and the much younger Haydn. In a petition of ...
(b Danzig [now Gdańsk], Sept 27, 1772; d Liebshausen, Bohemia, Sept 2, 1807). Bohemian composer. He received a musical education at an early age from his parents: his father, an Italian tenor, Antonio Maria Gaetano, and his mother, from Riga, the singer Elisabeth Böhm, as she was known professionally at the Königliches Opernhaus in Berlin after her second marriage. His parents’ unhappy marriage and subsequent divorce led to Antonio’s leaving home at the age of 13. After several difficult years, he emerged in 1791 as music director and court composer to Count Oborsky. In 1792 he accompanied his employer to Berlin, where he achieved his first success as a dramatic composer. During his subsequent sojourn with the Count in Vienna, he studied counterpoint with Albrechtsberger, Seyfried and possibly Beethoven, and operatic composition with Salieri. Cartellieri’s first public appearance with Beethoven was in 1795 in a concert which saw both the première of his own oratorio ...
(Tadeo Francisco Pellegrin) [Martini, Vincenzo, lo Spagnuolo (il Valenziano); Martini, Ignaz]
(b Valencia, May 2, 1754; d St Petersburg, 30 Jan/Feb 10, 1806. Spanish composer.
Born and raised in Valencia, he composed his first opera in 1775 for the court of Madrid, but he may not have entered the service of the Prince of Asturias, the future Charles IV of Spain, until 1780. By November 1777 he was working in Naples, where he wrote ballets and then serious operas for Ferdinand I of the Two Sicilies, brother of the Prince of Asturias, and Maria Carolina, sister of Emperor Joseph II; among them was the festive opera on the state visit in 1782 of Pavel Petrovich, the future Paul I of Russia.
Martín moved to Venice in 1782 and henceforth, with a single exception, he wrote only comic operas. He may have become acquainted with Nancy Storace in Venice, but she did not sing in either of his Venetian operas (as Kelly reports). In ...
Italian family of musicians. Besides the Calegari family members listed below, there were many other musicians named Calegari, Callegari or Caligari, active in Venice or Padua from the mid-17th century to the 19th and not known to be related. They include the singers Giovanni, a castrato in the S Marco choir who accompanied Cavalli to France in 1660, and the prima donna Isabella, who sang in Venice from about 1705 until 1730. The impresario Matteo, who managed the finances of the Grimani theatres in Venice (1688–1706), is said to have been of Genoese descent. An Antonio Calegari played the violone in the orchestra of S Antonio, Padua, around the beginning of the 18th century. In the early 19th century a Francesco Calegari published much guitar music and gave guitar concerts in Germany. Another Francesco published a method for children, Elementi generali di musica (Bologna, 1822, enlarged 2/1828...
revised by Jennifer Williams Brown
(b Venice, c1653; d Vienna, Jan 22, 1715). Italian composer, partly active in Austria, nephew of Pietro Andrea Ziani. Towards the end of the 17th century he was a leading composer of opera for Venice, and he was a major figure at the imperial court in Vienna early in the 18th century.
The most important influence on Ziani's early life was probably his uncle, with whom he may have studied. Certainly Pietro Andrea's reputation and connections, particularly in Venice and Vienna, must have aided Ziani throughout his life. Marc’Antonio began his career as an opera composer in 1674 by adapting older works for the Venetian stage. In 1677 he acted as an intermediary for his uncle (who was in Naples) during negotiations with S Marco concerning the latter's post as first organist; after Pietro Andrea resigned, Marc’Antonio boldly applied for the position, but was passed over. Pietro Andrea may have arranged for his nephew's first opera, ...
Otto E. Albrecht
revised by Stephen Roe
This article is a fundamental revision of Otto Albrecht's comprehensive listing in Grove6 of collections of printed and manuscript music and letters of composers and musicians, libraries, books and theoretical works still in private hands. Instruments, collections of and Sound archives are treated elsewhere. Albrecht's division into two sections has been retained, though the parts are retitled ‘Current Collections’ and ‘Historical Collections’. The former records geographically collections in the process of formation and development, or which remain in the family of the original collector or have not yet reached permanent, public, institutional ownership. The second lists alphabetically collections since the late 15th century which have reached a final destination (as far as can be ascertained) or have now been dispersed. Political and market forces of the last 30 or so years of the 20th century have shown that it is not always an inexorable progress from the first to the second list and in some cases the reverse journey has been made. Bibliographical details are generally omitted in the second part; they may be found under the entry for the library where the collection is now located....